H I L L I A R DPaul and Lulu Hilliard University Art Museum
SPRING/SUMMER 2012V o l u m e 9 N u m b e r O n e
For the past eight years I have had the privilege of serving on our Parish Public Library Board of Control. I’m always delighted and surprised when reviewing the library usage statistics. Even with the advancing digital age, libraries continue to be an important resource for the community. Libraries and museums are siblings. We both collect, preserve, and make these collections accessible to the public. Yet, there is an important difference between libraries and art museums. In most cases library patrons know how to read. As for art museums, particularly in rural communities where few people have ever been exposed to museums or the visual arts, we have to teach our patrons how to read art work. One comes to understand and fully appreciate art by spending time in museums and art galleries. This requires looking at a lot of art, reading the exhibition labels and asking a lot of questions and challenging the artist’s intent or the curator’s assumptions. Just like an early reader in a preschool classroom, individuals learning to understand art, must begin by knowing the history and meaning of rudimentary imagery. “Reading” an exhibition of Modern or Contemporary art requires basic mastery of the visual lexicon of art. With a little study one can recognize and recall the meaning of symbols, compositions, color use and imagery. I’ve never seen “new” art. I’ve seen great contemporary art that owes its origination to the annals of preceding forms and ideas. All imagery is built on the foundation of creations by preceding artists. Representations from earlier artistic efforts are reused, recycled and translated in some way to create a different image or object. Some anthropologists and art historians claim our visual language began over 50,000 years ago in places like the caves of Lascoux, France and the deserts of Australia. Early man discovered that mark-making was an effective way to communicate ideas and record events, either real or dreamed. Our first language was a visual language, not a written language. Many scholars suspect that these paintings and their associative meaning held tremendous power over the future of the people who created them.
“Paint the antelope and they will appear in the fields tomorrow.”
When I have an opportunity to speak with students visiting the museum, I try to impress upon them the importance of mastering both the written and visual language. I tell them to expand their visual reference library with works of art from every age and culture and to enrich their vocabulary with new and old words. Don’t be afraid to associate words and begin to create stories and poems. Don’t hesitate to make associations between imagery and meaning. This issue of the Hilliard’s journal documents some of the outstanding work by our museum’s staff and volunteers and our campus and community partners. If you are not a member of the Hilliard or you have not renewed I hope you will soon. Your support is very important and meaningful in our efforts to serve Acadiana and Louisiana.
Mark A Tullos, Jr., Director
Front Cover: Cora Kelley Ward, Collection of the Paul and Lulu Hilliard University Art Museum.
Above: Museum Volunteers, Grace McCloskey (in chair) and Mary Ann Smith (seated in foreground) host Toddler Tuesdays in the museum.
2 Director’s Statement Visual Literacy: Learning to Read
4 Cora Kelley Ward: A Work in Progress Eunice, Louisiana Native and New York Abstract Expressionist comes home
6 Faith & Form Fine Art and Decorative Art from Catholics in Acadiana
7 Rhyme and Reason: The Art of Shawne Major
8 Louisiana Watercolor Society and Kenn Kotara The Year of Louisiana Art and Artists
9 Louisiana Voices Six Artists Speak to Us
10 Discovering Egypt in Louisiana The Ambassador Jefferson Caffery Collection
12 Raising Children in Museums Reflections on Partnerships in Education
14 Hilliard Museum Society The University and Foundation Create a Powerful Museum Support Group
16 Collection News Wonderful New Additions to the Permanent Collection
21 Hilliard Museum Members Thanks to our New and Renewing Members
The record of Paul and Lulu Hilliard University Art Museum, No. 9, University of Louisiana at Lafayette
Top: Gallery view of the exhibition Faith & Form.Bottom: An elementary school class plays a game of “Duck, Duck, Goose!” on the museum lawn.
Like thousands of artists before and after her, Cora Kelley Ward did not receive the recognition or success of artists known to us from art history books, but her journey as an artist was like so many others who strived to pursue their dreams of living a life filled with creativity and stimulation. Ward’s aspirations to live an artistic life represent a quintessential narrative familiar to most American artists. In Ward’s case, however, the period in which she lived might be considered one of the most fascinating and dynamic in American art history; the rise of an American aesthetic in post-war America.
And she was there. Born in Eunice, Louisiana in 1920, Ward’s childhood began, while still an infant, with the loss of her father. Raised by her mother and grandmother, Cora would go on to study nursing at Southern Baptist Hospital in New Orleans, LA. In 1941 she married Dr. Simon Ward who was soon called to serve in the navy during World War Two. With her husband abroad, Ward began to take painting classes at the Newcomb Art School, Tulane University. It was here that she found her calling as an artist and the career she would pursue after her divorce in 1948. Ward then moved from New Orleans to Chicago to pursue a Bachelor of Science degree in Visual Design at the
Illinois Institute of Technology which she completed in 1953. In the summers of 1949 and 1950, Cora attended Black Mountain College in Asheville, NC where she met and studied with some of the most influential artists and critics of the mid-twentieth century including Josef Albers and noted art critic, Clement Greenberg. The small classes and communal atmosphere at the college were ideal for creative experimentation and the sharing of ideas. Ward’s experiences at the college would define her artistic career and shape her life for years to come as did her friendships with Greenberg and his wife, Jenny, and fellow artists Helen Frankenthaler and Kenneth Noland. By 1955 Ward was living in the Greenwich Village area of New York City in the midst of what was then the hot-bed of artistic innovation
CORA KELLEY WARDDr. Lee A. Gray, Curator
and excitement for the nation. Ward’s creative pursuits in painting centered on Abstract Expressionism, however, she was also a photographer and spent many hours photographing artists, art world dignitaries, friends and colleagues as they moved through the world of exhibition receptions, lectures, or classes. Ward is most remembered as a photographer by her contemporaries and fellow artists from this period. The shy Ward would attend events, camera in hand, where she captured the interaction and excitement of the contemporary art world. Some of Ward’s photographs from that time appear in this gallery. Like many struggling artists, Ward had small successes in getting her work shown to the public. She had solo showings at The New Gallery, Bennington College (1966), Noah Goldowsky Gallery (1973, 1975, 1976), Andre’ Emmerich Gallery (1978), and The Gallery Space, New York, NY (1983), as well as participation in numerous group exhibitions, though we have little evidence that Ward’s works were sold or collected. To support herself she taught private lessons in drawing and painting and worked as a nurse in the evenings. As a regular at gallery events, Ward met and befriended many artists who would go on to become luminaries of mid-century American abstraction. Colorfield painters such as Morris Louis, Helen Frankenthaler, and
Kenneth Noland, all second generation “New York School” artists, were Ward’s contemporaries and it was their influence that most affected Ward as she labored to find her own aesthetic voice. It is unfortunate that her life came to an end just as the artist within was articulating her own unique voice. In the exhibition held after her death in 1989, her long time friend Clement Greenberg wrote in the catalog, “Cora was a dear and selfless friend. But I can confidently say that that doesn’t sway me. It’s only with these paintings of the eighties that I am able to hail her art without reservation. That makes me glad – regretfully so because she’s not here to read what I write.” This exhibition is presented in two parts: the first is a re-installation of the small memorial exhibition held at the Greenberg Wilson Gallery shortly after Ward’s death in 1989. The second is a fictional installation of what Ward’s studio might have been like. The studio is meant to symbolically capture the artist’s commitment to her passion of making art. We witness Ward’s constant struggle to work through the aesthetic ideas most prevalent from the 1950s to the late 1960s. On the table are books open to artists who also worked through those aesthetic ideals such as Helen Frankenthaler, Kenneth Noland, Morris Louis, and Jules Olitski. While each of these artists found his or her unique voice earlier than did Ward, together they represent an era of philosophical and ideological exploration in the visual arts. On April 20, 2010 I had a telephone conversation with Janice Van Horne, once married to Clement Greenberg and
friend to Cora Kelley Ward. Van Horne describes Ward as a good family friend to the Greenbergs. She attended many family events and always took lots of photographs of the family. Despite the numerous times Ward and the Greenberg’s spent together, Van Horne admits that she knew little of Cora’s personal life stating that Cora “lived a life that was almost monk-like in her organization and lack of material goods. She was very discrete and private.” The few times that Van Horne visited Cora in her Greenwich St. apartment, it was clear that Cora was “meticulous and fastidious” about everything she did. In fact, Cora was so organized, said Van Horne, that she kept files on all of her works and things she found interesting. For example, “Cora would archive articles about art and could pull them out at a moment’s notice.” Van Horne admired Cora’s determination and fortitude to pursue her dreams but knew little of Cora’s professional life as an artist. She recalls that Cora was a perpetual student and completed her Master of Arts degree from Hunter College at the age of 49. In the first half of this gallery, you see the fictional studio of Cora Kelley Ward. Given Ward’s penchant for organization and meager belongings we have deliberately kept objects to a minimum, but we have attempted to showcase her persistent commitment to working through artistic theories and included the artists and ideas that most influenced her own search for aesthetic appreciation. We are proud to welcome Cora home to Louisiana. We thank her family for their generous and thoughtful donation of her work and legacy. ¾
the early 19th century immigrants from Ireland, Italy, Portugal, and Germany furthered proliferation of Catholicism as they settled in the Southern part of the State. Until the American purchase of the Louisiana Territory in 1803, everyone in the Lafayette area was legally required to be Catholic. As Anglo Americans moved in to region Protestantism grew and by the end of World War II the northern part of the state was predominately Protestant. In Acadiana, Catholicism remains the primary denomination mirroring that of the nation as a whole. Catholics make up about 22% of the population or 77.7 million as the largest religious denomination in the United States. This exhibition consists of religious artifacts from a variety of Catholic churches in Acadiana as well as a few artworks from the Museum’s permanent collection. Participating Churches and lenders include: St. Peter’s (1838) New Iberia, Rev. Charles Langlois; St. Joseph (1892), Iota, Rev. Mikel A. Polson, Sacred Heart of Jesus (1906), Baldwin, Rev. Gregory Cormier; The Cathedral of St. John the Evangelist (1916), Lafayette, Janice McNeil, Curator; Holy Ghost (1920), Opelousas, Rev. Jaison Mangalath;
Our Mother of Mercy Josephite (1928), Rayne, Rev. Richard Wagner, SSJ; Our Mother of Mercy Josephite (1941), Church Point, Rev. Francis Butler, SSJ; Holy Cross (1965), Lafayette, Rev. Howard J. Blessing, St. Basil (1970), Duson, Rev. A. Rex Broussard, Jr. andFaye Drobnic, Lafayette. Faith & Form has been in development for over two years and is a partnership between the Hilliard Museum and the UL Lafayette Public History program. Initial research for this exhibition was performed by the following graduate students in public History taught by Dr. John Troutman: Lauren Albarado, Alaina Comeaux, Meagan Dossmann, Jennifer Hopkins, Leigh Rutherford, Lauren Talley, and Simon Wooster. The exhibition would not have been possible without the endorsement of the Most Reverend Michael Jarrell, Bishop of Lafayette.
Faith & Form: Fine Art and Decorative Art from Catholics in Acadiana surveys some of the remarkable fine art and decorative art from area churches, cathedrals and private collections. The exhibition will be on view through September 1, 2012 as part of Louisiana’s Bicentennial Celebration. As the title of this exhibition suggests, faith is often signified in visual form. Evidence suggests that visual imagery and objects have been created to communicate with higher powers and educate others for as long as humans have roamed the earth. If not part of prayer, homage to the gods, or rites of passage, spiritual significance was integrated into objects used in daily life. Through these objects, sacred beliefs could be honored and taught. In Faith & Form, visitors will have the opportunity to consider objects used in Catholic rituals; the shapes, the iconography, the symbolism, and the functions which signify Catholic faith. Catholicism has a long presence in the State of Louisiana beginning with its history as French and Spanish territories. Catholic practices of these European nations persisted as the state grew in population during the 18th century. By
Faith & Form
Orleans (2008) and Scope Artfair-Miami (2008 & 2009), as well as the Cultural Center in Chicago earlier this year, will soon bring national recognition to Major’s unique aesthetic voice. She is recognized for her ability to confound, excite, awe and inspire her viewers with the physical presence and emotional impact of her finely crafted artworks. Drawing on memories and fragments of experience associated with growing up in Southwestern Louisiana, the artist seeks to create magical and sacred spaces within her intricately sewn collages. They are personal narratives to the artist, but accessible to every spectator who inadvertently forms their own narrative based on personal experiences of childhood, travel, religion, ritual, or culture. Opening September 15, 2012.
Above: Detail, Eating Cake, Shawne Major, 2011, Mixed Media.
We close our year-long celebration of Louisiana Art and Artists with a solo exhibition of work by Shawne Major. Raised in New Iberia and trained at UL-Lafayette and Rutgers University in New Jersey, Major has managed to create a uniquely individual visual language; one that is both personal and poetic. “My cultural experience serves as the accent for my visual language,” states the artist. “It is the filter through which I see the world and the voice through which I discuss concepts that are important to me. My work is not only about my cultural experience, but of it”. With galleries in New Orleans, Atlanta, and Houston, the artist is fast becoming known in the southern art market. Her participation in important national exhibitions such as Prospect 1 in New
Rhyme and Reason: The Art of Shawne Major
experience serves as
the accent for my
This year the Museum’s exhibition schedule is devoted to art and artists from Louisiana in honor of the State’s bicentennial. In keeping with that theme, we have invited Mr. Don Andrews to curate an exhibition of watercolor paintings created by members of the Louisiana Watercolor Society. The exhibit will showcase the talent of artists who reside in our state and use watercolor as their preferred medium. According to the group’s website, the Louisiana Watercolor Society was founded in 1968 and exists to advance the art of painting with water media. Watercolor is made from water-soluble pigments. It can be applied to paper quickly, which may explain why many works in watercolor display scenes from nature, such as exotic flowers, landscapes, or people displaying intense emotions. Images in watercolor capture the transitory essence of our world. Aquarellistes: Louisiana Watercolorists will be on view from September 15 through December 8, 2012.
Kotara works in many diverse mediums both two and three dimensionally. His interest in spatial manipulation is informed by each unique site installation. Viaticus, meaning, “pertaining to a journey,” consists of 18 ceramic boxes (image left) that mimic the pattern of footprints in an undulating line. Native Louisiana plants grow through foot-shaped cutouts on the upper side of each of the ceramic containers. Over time, the plants fill the footprint masking the original clarity of the shape, symbolically representing the journey of each step and ultimately of the process of journey itself. For the Hilliard’s site, viewers are restricted from entering the actual architectural space and must remain at the “foot” or beginning of the journey, rendering the viewer powerless to proceed physically. This limitation provokes a dialogue around the concept of accessibility and process as we watch the evolution of the grass rise and transform over time. Viaticus will be on view from September 15 through November 10, 2012.
Kenn Kotara: Viaticus
The artists chosen for this exhibition are all Louisiana natives with exceptional talents in the visual arts. Each artist has developed a unique visual language that reflects both their roots in Louisiana and their knowledge of art history. For Mar-jorie Pierson, Melissa Bonin and Linda Dautreuil, a love of nature and landscape is evident in the images they create. In their abstractions, one can see visual elements of Louisiana’s landscape; vines, trees, plants, mist, and water filter through these artist’s paintings and photographs reflecting the many diverse faces of Louisiana’s natural beauty. Lisa Osborn and Amy Guidry also work with subject matter derived from nature but in a language grounded in the art his-torical modes of figural representation and Surrealism. Though their aesthetics appear less connected to their Louisiana roots, both Osborn and Guidry have an edge to their works that is simultaneously compel-
Louisiana Voices: Six Artists Speak to Usling and unsettling much like aspects of Louisiana culture. Courir de Mardi Gras participants for example, engage us with their brightly colored costumes yet frighten us with their salacious antics and masked identities. We are instinctively drawn to these artist’s works for their sen-suality, but unsettled by their underlying power to confound and challenge us. Troy Dugas’s work draws upon the tradition of finding objects and then re-working the material into a new creation. Unlike a painting or sculpture where the artist starts with a blank canvas or a lump of material, working with found objects typically means the artist retains some-thing of the object’s character, redefining its meaning by reorganizing its context.
Dedans le Sud de la Louisiane: le Retour
This summer the Paul and Lulu Hilliard University Art Museum celebrates the return of photographs by three Lafayette artists. The artwork by Philip Gould, Greg Guirard, and the late Elemore Morgan, Jr. traveled throughout France and Belgium in the 1990s. Herman Mhire originally organized the exhibition of photographs featuring landscapes and images from south Louisiana. After an intense search by Hilliard staff the collection was returned in 2009. Come enjoy another exhibition celebrating our states 200th birthday! The exhibition closes on August 25th.From top left to right: The artwork of Amy Guidry,
Troy Dugas, Lisa Osborn, Linda Dautreuil, Melissa Bonin and Marjorie Pierson.
through our community assessment last summer that many people in the community don’t believe that the museum is a place where they will be comfortable and welcomed.” says Tullos. Hopefully the new HILLIARDMUSEUM.ORG will help change those perceptions and become an important tool in building the museum’s audience.
Visit the Museum Director’s new Blog titled Object & Idea. The blog can be found at hilliardmuseum.blogspot.com. Each week Mark Tullos writes an insightful and sometimes humorous reflections on the work and mission of American museums.
For the past nine years the museum’s web site has been designed and managed internally by museum and university staff members. This summer the museum contracted with Bizzuka Internet Services to design and host a new and more dynamic web site. The cost of the design was underwritten by private contributions to the museum’s Annual Appeal. The new site will enable the museum to provide information about programs more effectively and professionally. The new site also includes more features for collecting information about visitor interests and enables the collection of tour reservations, program evaluations, broadcast e-mail and
much more. “We wanted the new design to reflect the vision of the Hilliard - bridging university and community, art and education, generations and cultures.” says Mark A Tullos, Jr., Hilliard Director. “I believe the talented people at Bizzuka hit the mark.” When you visit the new site you will notices the graphic emphasis on people engaged in activities at the museum. The intent is to make the virtual visitor feel like the Art Museum is a place where they belong. “So many people have misconceptions about an Art Museum. We learned
On Saturday, April 21st the UL Lafayette Faculty Jazz Combo presented a concert benefiting the Chorale Acadienne and the Paul and Lulu Hilliard University Art Museum. The event titled Jazz on the Plazz began with cocktails on the plaza followed by a delightful one hour concert featuring vocalist Patsy Bienvenu. The Jazz Combo included Paul Morton, trumpet; Bob Luckey, saxophone; Jeff George, guitar; Garth Alper, keyboard; Troy Breaux, drums; and guest bassist Joe Butts. For the last twenty years the UL Lafayette Faculty Jazz Combo has been dedicated to the promotion of jazz on the highest level. The group, comprised of the Jazz Studies and Music Media faculty, performed compositions in a number of styles including swing, bebop, hard bop, post bop, as well originals. Thank you to our table sponsors and Glazer’s Distributors for supporting the benefit.
Jazz on the Plazz
The third annual Picasso’s Attic Art and Print Sale raised $10,919 for museum collections conservation and preservation. The event was held in the museum loading bay
A variety of cocktails were offered during the Jazz on the Plazz concert. Special thanks to museum volunteers Vanessa Hill and Whitney Garland for managing guest reception.
XXIII, and Paul VI. In 1971, Caffery was awarded the foreign service cup by his fellow foreign service officers. He held several honorary degrees and decorations, including the Laetare Medal from the University Of Notre Dame in South Bend, Indiana, presented in 1954. In 1949, and 1955 respectively Caffery received the Grand Cross of the Legion of Honor from the president of France and the Order of the Cordon of the Republic from the president of Egypt. He returned to Lafayette in 1973, shortly before Mrs. Caffery’s death. He died a year later in April of 1974. The Egyptian collection was placed on permanent loan, from the Caffery family, to the University of Louisiana at Lafayette in 1976.Jefferson Caffery served as U.S. ambassador to El Salvador (1926–1928); Colombia (1928–1933); Cuba (1934–1937); Brazil (1937–1944); France (1944–1949) and Egypt (1949–1955). A portion of Louisiana Highway 3073 in Lafayette is named the Ambassador Caffery Parkway in his memory. The Hilliard Museum would like to thank the Edith Garland Dupré Library at UL Lafayette and the staff of Special Collections: Caffery Papers for their exceptional assistance in gathering images and information for this exhibit.
tombs, with the deceased portrayed in the way he or she wished to remain forever. No other culture has created a greater variety of art forms to ensure the protection and well-being of the deceased in the afterlife. This summer, the Hillard presents a little known aspect of the university’s collection, Egyptian artifacts from
Ambassador Jefferson Caffery. Ambassador Caffery was born in Lafayette, Louisiana on December 1, 1886. He was a member of the first graduating class of the Southwestern Louisiana Industrial Institute, which later became the University of Louisiana at Lafayette. Caffery also obtained a degree from Tulane University in 1906, and gained admittance to the Louisiana bar in 1909. Caffery worked 43 years in foreign service under eight presidents, Taft, Wilson, Harding, Coolidge, Hoover, Roosevelt, Truman, and Eisenhower. Caffery and his wife Gertrude eventually moved to Rome after his retirement in 1955, where he was the honorary private chamberlain to Popes Pius XII, Pope John
What we now identify as art of the ancient Egyptians was originally created for religious purposes. Egyptian art includes the architecture, painting, sculpture, and the utilitarian objects of ancient Egypt. Much of the surviving art comes from tombs and monuments emphasizing life after death and the preservation of the past. Usually an inscription, made up of pictorial signs (hieroglyphics), identify the name and title of the person entombed. Symbolism in art played an important role in establishing a sense of order for Egyptians. For instance, a pharaoh’s regalia, headdress, scepter, and ankh, symbolized his power to maintain order, while symbols of Egyptian God’s and Goddesses are depicted as humans, animals, or humans with animal heads. Images of deities are shown offering an Ankh to a king as a symbol of eternal life. Egyptian art uses unnatural colors in order to indicate a sense of divinity, Blue or gold is utilized because of its association with precious materials, and the prodigious appearance it creates. Royal figures, often rendered in black, express the virility of the Nile, which symbolized the organization of all life for Egyptians. The Egyptians did not look toward an afterlife in some distant paradise but to the continuation of their daily lives on Earth, enjoying all the pleasures of life with none of its pain and hardships. This vision of the afterlife is evident in the sculptures, reliefs, and wall paintings of Egyptian
Eygpt in Louisiana: The Ambassador Jefferson Caffery Collection
Center: Ibis, 26th Dynasty, 664-525 B.C.
Museum joined Episcopal School of Acadiana (ESA) in our partnership titled the International Children’s Museum (ICM). Through volunteer leadership and ESA faculty, this program integrates art and museum science into the school’s daily curriculum through exhibitions, activities and an international art exchange each year. The objectives include teaching students about the role of museums and art in society and to teach pluralism of the arts and creative thinking in the arts. This program is an effective discipline-based art education tool for faculty, students and families. In the photo above, Museum Director, Mark Tullos appeared with ESA Headmaster, Charles Skipper and ICM students on the morning television program Good Morning Acadiana hosted by Tom Voinche.
levels of ability in their school work, in the arts, or in their daily lives. Classes integrated Museum collections in the course work and were taught in the galleries and the A. Hays Town Building. Last spring the Hilliard Museum, in partnership with the UL Lafayette College of Education Teacher Candidates, presented Creative Classroom for Young Learners (image top right). Future teachers provided a series of stories and lessons to include hands on activities appropriate for ages pre-K - 3rd graders. The program was free. Julie Fox (bottom center) with the Lafayette Parish School System conducted her annual Art Smart professional development program utilizing our museum collection. The program provides teachers training in ways to utilize museum collections as teaching tools. For the second year the Hilliard
Raising youth in museums benefits the whole child. The intellectual challenges, visual stimulation, and the unique vocabulary all contribute to shaping an engaged learner. Museum educators and docents will tell you that you can have conversations in a museum gallery that you may never have anywhere else because the imagery and history behind the creation of an artwork foster new ideas and provoke a response, whether that response be verbal or written. The photo at the top left of this page captures a moment during the Summer Scholars Residential Program, a partnership between the Hilliard and the Center for Gifted Education at UL Lafayette. The Sunday - Thursday residential program was designed to develop the academic, leadership, and creative skills of 7th, 8th, and 9th grade students who have demonstrated high
Raising Children in Museums
Artist Griminisa Arora visits with Museum Curator Lee Gray during the installation of Uros House.
The images from left to right capture parents waiting to pick up children who participated in the Summer Scholarship Residency program. Alexander Mouton House museum trustees, Ramona Mouton and Deanie Chasson pose with General Mouton’s armoire. The Museum returned the armoire, which has been in the museum’s collection for 40 years, to it’s rightful home. Bishop Glen John Provost of Lake Charles brought his seminarians to the exhibition Faith & Form. A partnership with the Center for Louisiana Studies at UL Lafayette yielded a series of lectures about Louisiana history including An Afternoon with New Orleans’ Raconteurs: George Schmidt, James Nolan, Gordon “Tad” Wilson, and Jason Berry. In celebration of African American History month the Hilliard presented a forum for local African American leaders. The discussion was presented in conjunction with the book signing by Sherry T. Broussard author of Images of America: African Americans In Lafayette and Southwest Louisiana. Left, City of Scott Mayor Purvis Morrison speaks about his family history in Acadiana.
Programs and Partnerships
Hilliard Across America
The James W. Bean Museum Store offers a unique assortment of art-inspired home and office accessories, beautifully handmade jewelry, books on art, architecture, design and culture, a large
selection of arts and crafts products, and exclusive Hilliard Museum products. Museum Members receive a 10% discount in the store and online, plus seasonal double discounts! Become a Museum Member today to start saving. Stop by the store or call
for details (337) 482-0817..
This summer the museum store features two of our regions finest jewelry designers, Penny Meaux Edwards and Suzanne Juneau. We also carry a broad selection of work by members of the Louisiana Crafts Guild.Penny Meaux Edwards Suzanne Juneau
For the past two years, the exhibition organized by the UL Lafayette’s Art Museum titled East/West: Visually Speaking has traversed the country and appeared in six museums. Museums included the Jacksonville Museum of Contemporary Art, Jacksonville, FL; Colorado State University, Bolder, CO; The Frost Museum, Miami, FL; Schnitzer Museum at University of Oregon; Yellowstone Art Museum, MT and this fall the South Texas Institute for the Arts in Corpus Christi will be the final venue. Many thanks to Hilliard Curator, Lee Gray for coordinating this ambitious tour.
Other Hilliard collections available for travel to museums include:
Eygpt in Louisiana: The Ambassador Jefferson Caffery Collection
Being Andy Warhol: Photographs from the Paul and Lulu Hilliard University Art Museum Collection
Cora Kelley Ward: A Work in Progress
The Jacqueline Heymann Cohn Japanese Print Collection
For more inforation about these exhibitions and other upcoming opportunities contact the museum at (337) 482-0817 or email: firstname.lastname@example.org.
The Paul and Lulu Hilliard University Art Museum at the University of Louisiana at Lafayette plays an integral role in both cultural enrichment and education in southwest Louisiana. The Hilliard Museum Society was established to shepherd and support the museum as it continues to grow and serve our many audiences. Each seat on this Society is held by individuals who represent the diversity, influence, intelligence, and creativity of our community. The Hilliard Museum Society should be a standard for other community non-profits and arts organizations in south Louisiana. We are seeking individuals with a strong business sense, sensitivity to the creative spirit, and a willingness to work for the betterment of the Hilliard Museum. Society members must have a strong ethic for fairness and a vision for the unique nature of the Art Museum. Our Society Members are the guardians of the museum’s mission and the programs. You are invited to become a charter member of the Hilliard Museum Society. The Society is a private nonprofit organization operating within the University of Louisiana at Lafayette Foundation. With an annual gift of $1,000 you and your spouse are accorded the highest level of Museum membership and all privileges pertaining to that category. Membership also provides you voting privileges during the annual society meeting. Hilliard Museum Society Members also have the opportunity to serve on Society committees.
Hilliard Museum Society Benefits & ObligationsMinimum annual contribution of $1,000 to the Society Fund •Opportunity to serve on one Standing Committee •Invitation to exclusive Society events•Unique access to visiting artists and scholars•Voting privileges at the annual meeting of the Hilliard Society •(one per household)All benefits of the highest level of general museum •membership
Society Committees & Service OpportunitiesMembership Committee:• Finance & Strategic Planning Committee:• Marketing Committee:• Special Events/ Fund-raiser Committee:• Education Committee:• Planned Giving/Endowment Committee: •Art Collection Committee:•
Please contact Museum Director, Mark Tullos at (337) 482-1369 or by email at email@example.com for more information concerning the new Hilliard Museum Society.
Did you know you can also make contributions through the Community Foundation for Acadiana? A special Director’s fund was established by Jolie and Robert Shelton supporting the Museum Director’s work, travel and research.
Recently we received gifts of art work for the museum’s permanent collection. Devoted patron, Elizabeth Dubus Baldridge, who contributed a delightful painting by Arthur Dove in 2010, contributed another fine painting in by Bernhard Gutmann. This gift further builds our collection of works by American artists of the early 20th century. Another wonderful friend, Warren C. Lowe, Ph.D., M.P., who has enriched this museum collection with gifts over the years has made another significant contribution of 42 significant works of vernacular art. These gifts further establish our collection of folk and outsider art as one of the finest in the state.
New Staff Appointments
After a nation wide search the museum welcomes Ramona East. Ramona will serve as the museum’s new Registrar. She received her B .A. in anthropology with a minor in American Studies and History from the University of Wyoming in 1993. She received her M.B.S. in Museum and Field Studies/Anthropology from the University of Colorado at Bolder. Prior to joining the Hilliard staff, she served as a Museum Specialist with the National Park Service managing over one million objects. Kerry Frey recently graduated from the University of Louisiana at Lafayette where he received his B.S. and Master of Architecture degrees with a concentration in Historic Preservation. Kerry worked at the museum for two years as a graduate assistant before his full-time employment began this summer. Kerry works as the museum’s preparator. He is responsible for the handling and installation of the museum’s various exhibits. He assists the registrar in organizing and maintaining the museum’s permanent collection. Kerry also acts as Chief of Security and oversees building maintenance.
Back Inside Cover: Bernhard Gutmann, American, (1869-1936), Sunset, Monhegan Island, Medium: Oil on Panel, 8 x 10 inches, 2011.09.01, Gift of Elizabeth Dubus BaldridgeIn a wide-ranging career spent in both Europe and America, Bernhard Gutmann created paintings, prints, and graphic designs, taught art, served as an arts admin-istrator, and published several art manuals. Gutmann was born in Hamburg, Germany.
Top Left: Clinton Hill, American, Mostly Yellow, 1955, Oil on Canvas, 48 x 37 inches, Gift of the Clinton Hill FoundationAmerican abstract painter who created abstract color compositions on canvas, constructions made from wood and canvas, wood and plastic relief sculptures, collage, woodblock prints and unique assemblages of handmade paper.
Bottom Left: Alfred Henry Maurer, American, (1868-1932), Abstract Head, c.1920, Gouache, 18 x 11 inches, Gift of George N. NewtonAn American Modernist who exhibited his work in avant-garde circles internationally and in New York City during the early 20th century.
Top right: Sultan Rogers, American, (b. 1922) Man Confronts Haint, 1995, wood and paint, 14 x 4-1/2 x 2-1/2 inches, 2001.09.25b, Gift of Warren and Sylvia LoweOriginally from the state of Mississippi, Sultan, also spelled Sulton, learned carving at an early age from his father. He began carving later in life when working the night shift at a chemical plant.
Collections Preservation Grant
The Museum received a $7,000 grant from the Lafayette Visitor Enterprise Fund. Funds will be utilized to expand acces-sible collections storage particularly for works on paper. This will enable staff to share prints and photographs with visiting scholars, curators and university faculty and students.¾
Guests from New Orleans and Lafayette and Students from the UL Lafayette Communications program came dressed as historical figures. Nearly 400 guests attended the opening reception celebrating our new exhibitions and the Bicentennial of Louisiana statehood. The Bicentennial exhibition Satire, Scandal, and Spectacle: The Art of George Schmidt, was well received along with the UL Lafayette’s collection of American and European Painting, Modern and Contemporary Art, the special exhibition. Morgan as Mentor and an exhibition of new additions to the Hilliard’s print collection titled Ink... Paper... Process: Marais Press Prints. Artist George Schmidt entertained the crowd with song and Miss Louisiana, Erin Edmiston, made a guest appearance.
New Leviathan Orchestra ConcertIn May, the Hilliard put the spotlight on Louisiana culture in 2012, the bicentennial of Louisiana, with its “Year of Louisiana Art and Artists.” Lt. Governor Jay Dardenne (shown above with wife Cathy and Hilliard Board member Cherie Kraft) made a special appearance followed by a concert by the New Leviathan Oriental Fox-Trot Orchestra. The orchestra, described as a “living museum,” performed authentic arrangements of vintage American popular music from the 1890s through the early 1930s. The orchestra paid particular attention to the music of New Orleans, where it is based. In addition to the well known compositions of jazz and
ragtime composers like Jelly Roll Morton, Fletcher Henderson, and Eubie Blake, the orchestra’s repertory included the work of New Orleans Tin Pan Alley composers such as Larry Buck, Joe Verges, Paul Sarebresole and Nick Clesi. Taking its name from the SS Leviathan, a transatlantic ocean liner with a well regarded dance band at the start of the 1920s, the orchestra was founded in 1972 and has endured for more than four decades. Their recordings are featured in the sound tracks of Woody Allen’s film, Bullets Over Broadway (1994) and Storyville, directed by Mark Frost (1992), as well as being annual presenters at JazzFest in New Orleans and numerous
other performances across Europe and throughout the United States. Museum guests took advantage of beautiful weather and brought out picnic suppers and lawn chairs to enjoyed an enchanting evening on the plaza with this internationally renowned band. We plan to bring the Orchestra back to Lafayette next year for another memorable evening on the plaza of the Museum. Much credit is due our concert sponsors, Robert and Jolie Shelton, Ralph and Cherie Kraft, The Randy Haynie Family Foundation and, The Daily Advertiser.¾
The second annual Acadiana Wine and Food Festival was a wonderful success. We could not have asked for a more perfect weekend last October. Hundreds of people enjoyed the Friday evening Joie du vin wine dinner and the Grand Tasting the next day. Chef Patrick Mould was the organizing Chef and he was supported by community volunteers Vanessa Hill, Whitney Garland and Luke Tullos. Many thanks to our sponsors Glazer, Rouses, Associated Travel, Party Central, Town Square Media, Lafayette Convention and Visitor Commission, HULCO printing and all the participating restaurants and chefs! Mark your calendar for the next festival October 26th. If you are interested in becoming a festival volunteer we hope you will contact us at firstname.lastname@example.org or call 482-0817.¾
Golden CircleMr. & Mrs. Robert Shelton
Connoisseur’s CircleMr. & Mrs. Raymond AllenMs. Martha BrownMs. Jimmie BuieDr. & Mrs. James ColeMr. & Mrs. Jim DoyleMr. & Mrs. Randy HaynieMr. & Mrs. Ralph Kraft
Collector’s CircleMr. & Mrs. Robert Wiggs
Patron’s CircleMr. & Mrs. C. Walter DobieDr. & Mrs. Martin DucoteMr. & Mrs. Gerald GesserMr. & Mrs. John GirardDr. & Mrs. J. Patrick HerringtonMr & Mrs Thomas R Hightower JrMr. & Mrs. Joel GoochMr. & Mrs. Richard KennedyMr. Paul LeamanMr. & Mrs. Frank LimouzeMr. Roger OgdenMrs. Charles ReilyMr. & Mrs. Rick RevelsMr. & Mrs. Richard Rivet
FamilyDr. & Mrs. Joseph AndrianoMr. & Mrs. John ArnoldMr. & Mrs. Frederic Ball, Jr.Mr. & Mrs. Randolph BernardMs. Susan E. BesseMs. Julie Bird & Ms. Lisa DeLacerdaMr. & Mrs. Carl BlyskalMr. & Mrs. Mike BoatnerMr. & Mrs. Jesse BourqueMs. Sarah Brabant & Ms. Wilmer MacNairMr. & Mrs. Billy BullingtonDr. & Mrs. Beau BurchMr. James R. BurkeMs. Bonnie H. CamosMs. Yvonne CarterVelma & Robert ClementMr. Bruce ConqueMr. & Mrs. Robert CoxDr. & Mrs. Pearson CrossMr. Robert Dafford & Ms. Lillian ElstonMs. Aggie DesJardinsMr. & Mrs. John DuplantisMr. & Mrs. Thomas FalgoutDr. & Mrs. Tim FaulMr. & Mrs. Joseph GiglioMr. Philip Gould & Mrs. Margo HashaMr. & Mrs. James Grace
Mr. & Mrs. Keith GuidryMr. & Mrs. Brooke Hamilton IIIMs. Linda Harris & Mr. Percy BernardMr. & Mrs. John HathornMr. & Mrs. Rick HawkinsMr. & Mrs. Joel HilbunMrs. Wynelle JonesDr. & Mrs. Henry Kaufman IVDrs. Jean & Larry KreamerMs. Roxanne Guillory & Mr. Matthew Lane, Jr.Ms. Jetta MolterMr. & Mrs. Asa MossMr. & Mrs. Chase NelsonMr. & Mrs. Mike NeustromDr. & Mrs. Charles OlivierMr. Jesse Poimboeuf & Ms. Nancy BrewerMr. & Mrs. Joe PonsMr. & Mrs. Jack ProffittMr. & Mrs. Sammy PyleMr. & Mrs. Wayne RobideauxMr. & Mrs. Victor SchneiderMr. & Mrs. Burton SmartMr. & Mrs. Charles Smith Jr.Mr. & Mrs. James R. StewartMr. & Mrs. Ray SuttonMr. & Mrs. Byron VermillionMr. & Mrs. Chuck WoodMs. Virginia Yongue
FriendMs. Aline M. ArceneauxMs. Mary M. AttrepMs. Mary Ann BernardMs. Rebecca BernerMrs. Monique BurdinMs. Joan CainMs. Brenda CaryMrs. Tom CastilleDr. Barbara J. CicardoMr. Howard Cornay Jr.Ms. Linda DautreuilMs. Martha S. DixonMs. Camilla DrobishMr. Steve DrouantMs. Julie M. DubuissonMs. Dorothy DucoteMs. Kathy DumesnilMs. Deborah ElbersonMs. Susan FangMr. R. Greg FaulkDr. Jean E. FinchMs. Ellen GillMr. & Mrs. Kim GoodellMs. Caroline F. GoodmanMs. Margaret GuerriniMs. Jill HallMs. Kathleen HidalgoMrs. Joan HillMrs. Madelyn B. Hoyt
Mrs. Willanna JamesMs. Mary KramerMs. Sandy H. LaBryMr. & Mrs. Richard LabutkaMr. & Mrs. Dave LandgraveMrs. Connie M. LaRochelleMs. Eleanor H. LasseigneMs. Phyllis Malzyk-GiordanoMrs. Elaine L. MannDr. Nancy W. ManuelMrs. Anna MarquardtMr. Arthur McviccarMs. E. Karen MillerMs. Dorothy MimsMrs. Pat OlsonMs. Jean OstrichMs. Ellen PattonMr. & Mrs. Warren PerrinBishop Glen John ProvostMs. Paulette RawdonMs. Kathy RosenbergMrs. Betty RowellMs. Natalia SidorovskaiaDr. Enrica SingletonMr. & Mrs. James Slatten IIIMrs. Bettie S. SonnierMrs. Sarah J. StephensMrs. Lawrence LeRoy SwanMrs. Sandra SwearingenMrs. Cathy ThomasonMs. Stephanie WarnerMs. Wilda WebreMs. Cathy A. Williamson
Thank You to our New and Renewing Members
Annual Appeal Donors:Robert and Jolie Shelton, Amos & Vaughan Simpson, Charles Jagneaux, Madelyn B. Hoyt, James Burke, Dr. & Mrs. H.B. Burch, Virginia Yongue, William Edwards, Jr., Mr. & Mrs. C. Walter Dobie, Daryl Starr, Joel & Janet Gooch, Gretchen M. Stewart, Mr. Arthur D. Green, Joseph & Diane Billeaud, Dr. & Mrs. Patrick Herrington, Dr. & Mrs. Alvin Merlin, Mr. Adele Smart, Dr. Ruth Ettinger, Drs. Carolyn & Harry Bruder, Dr. & Mrs. E. Joseph Savoie, Dr. & Mrs. E. Kinchen, Jr., Martha Brown, Carolyn & Joe Pons, Charles & Mary Ellen Sonnier, Ralph or Elisabeth Kraft, Sarah Jane Stephens, Trula Russek, Dennis G. Sullivan, Warren C. Lowe, PhD, Yvonne B. Carter, J. Neil Morein, LLC, Marion D. Rosser.
Join the Museum Family!Are you a part of the museum family? Join the museum today and enjoy the benefits and satisfaction of knowing that you support Acadiana’s Art Museum. Please indicate the level of membership you would like to join:
General Levels (Circle One)Individual -$40Family -$55Senior Citizen, Student or Educator -$25Student -$35
Contributor LevelsPatron’s Circle -$250Collector’s Circle -$500Hilliard Museum Society -$1,000
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The impact of your gift on the museum may be doubled or tripled. Some companies match gifts made by retirees and/or spouses. Join the Museum online! For any information regarding the museum, please call us at (337) 482-0817, email us at email@example.com or visit our web site: hilliardmuseum.org.
Return to: UAM, P.O. Box 42571, Lafayette, LA 70504. The board, staff and volunteers of the Paul and Lulu Hilliard University Art Museum thank you for becoming a member.
Dr. E. Joseph Savoie, President, UL Lafayette
Museum Governance BoardDr. Carolyn Bruder, Interim Provost, Board ChairMrs. Jenny ColeDr. John TroutmanMr. Joel GoochMr. John HathornDr. Vanessa HillMs. Cherie KraftMs. Jan SwiftEx-officio RepresentativeMs. Julie B. Falgout, UL Lafayette Foundation Museum StaffDirector, Mark Tullos, Jr.Curator of Exhibitions and Collections, Dr. Lee GrayAssistant to the Director, Debby MayneRetail/Visitor Services, Cindy HamiltonRegistrar, Ramona EastPreparator and Chief of Security, Kerry FreySecurity, Hugo BoutteGraduate Assistants: Jason Knight, Chun Lee and Courtney Dupre
710 East Saint Mary Blvd., Lafayette, LA 70503P. O. Drawer 42571, Lafayette, LA 70504Phone number: (337) 482-2ART (482-2278)Fax number: (337) 262-1268Email address: firstname.lastname@example.org
Hours: Tuesday - Thursday 9-5, Friday 9-noon & Saturday 10 a.m. to 5 p.m.
University Art Museum Members - Free withMember Card, UL Lafayette Students, Staff and Faculty, Serving Military Families - Free with I.D.Admission: Adult $5, Senior Citizens (50 and older) $4, Student (5-17) $3, Adult Groups of 20 or more $4, Senior Groups of 20 or more $3, Student Groups of 20 or more $2On the web at hilliardmuseum.org
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The flags that have flown over the state of Louisiana were installed on the historic A. Hayes Town Building for the state’s bicentennial celebration. &
P O D rawer 40400Lafayette LA 70504-0400hilliardmuseum.org
N O N-P R O F I T O R G.
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Exhibition and program support provided by Museum Supporting Level Members, Annual Appeal Contributors and the Lafayette Convention and Visitors Commission.
OR CURRENT RESIDENT